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JAIN JOURNAL: VOL-XLI, NO. 2 OCTOBER. 2006
considered biologically, is of the remotest antiquity in Jain tradition. But this fire-element is not identical with the Lord Himself, as we have pointed out above; it only represents that pure and glowing aspect of the Lord, which is the common attribute of all great persons. Just as, therefore, all religious art whether in an-aconic representations or set in definite icons, anthropomorphic or otherwise, is not an end in itself but only a means to an end, even so the symbols in Jain religious art more than in any other, are never worshipped as such but are venerated as the representations of the various aspects of the heghest divinities.
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We have noticed already the significance of the Astamangalas as given in the early and later Jain texts. In Mathura during the Kuṣāṇa period, it has been possible to trace the presence of this group of Aṣṭamangalas as the earliest evidence of symbolism in Jaina art. In the Ayagapatas which were primarily votive tablets meant for offering oblations to the Tirthankaras, we notice the seated Jina figures in the usual meditation pose. From the point of view of symbology it is interesting to note that these very early votive tablets include some of the group of the Eight Auspicious symbols. Among these the most conspicuous are a pair of fish and the Svastika. With this we may also compare a pair of Āyāgapaṭas apparently Buddhist which have been unearthed from the ancient site at Taxila. One of them shows a fish on the one side while on the opposite side is the Svastika. Two of the corners again show the two figures of a conch each interspersed with foliage decorations. This semblance shows how the motif of the Fish and the Svastika together with the conch had been already regarded as auspicious symbols in ages far beyond that side of the Christian era. The symbolism of the Fish and the Svastika particularly, seems to us to be a very favourite motif with the human race in general. Their particular connection with the votive tablets is again very significant. In Brahmanic conception too, we know, the flag of the god of love, Cupid, is to have the insignia of a pair of fish. The conch along with the full-jar appears on another Ayagapata from Taxila. On the above and down below the central square depression in this Ayagapata of burnt clay we have a full-jar (Pūrṇa Kalasa) and a conch. Two human
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